Andrea Mete | 28 Piazza di Pietra

Category show

Andrea Sala | Federica Schiavo Gallery

Category show

Abel Herrero | Z20 Gallery

Category show

Jorinde Voigt | Spazionuovo contemporary art & design

Category show

Jorinde Voigt | Marie-Laure Fleisch

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Gianni Piacentino | GIACOMO GUIDI ARTE CONTEMPORANEA

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FEEL UP | Eddie Peake and Prem Sahib | REMAP 4 – Athens

Feel Up by Eddie Peake and Prem Sahib.
09 Sep 2013 – 30 Sep 2013

Borne of ongoing collaborative conversations between Sahib and Peake, Feel Up extends from their performance Darkroom, first realized in October 2011, London, at Vogue Fabrics’ Anal House Meltdown club night, and again at Take Courage gallery space. In a development of themes found in the Darkroom performance, Feel Up is a room installation of accompanying elements – a silent video is installed in relationship to a large wall sculpture, golden fronted and reflective, through which originally composed audio plays from in-built speakers.

The shining surface of the Feel Up audio wall, cutting through the gallery space, holds the reflection of the room and prominently, the video, with its imagery of participants then viewed alongside the actual visitors to the space, conveying a sense of invitation, physical participation, witnessing the room filling up. Supporting this sense of presence is the audio track, combining electronic dance music with sounds of human effusions – laughing, breathing and spitting. Behind the wall, its supports are exposed and the space occupied by a jungle of bamboo, which in turn invites interaction with the room.

Surface lustre and animation through reflection or human reference is underscored in the second space of the show, where individual works by the artists are installed discretely but in natural dialogue. Sahib’s anodised aluminium panels ‘sweat’ with resin painted drops, his black ‘dead neons’ playfully gesture along the top of the walls and Peake’s spraypainted mirror works reflect their viewer, bringing them in amongst the swagger, self-reference and poetry of the surface-filling text.
Prem Sahib, born London, 1982. Recent solo exhibitions: Back Chat, Galleria Lorcan O’Neill Roma, Rome, 2013, He Looked Me Up, Marian Cramer Projects, Amsterdam, Home From Home, Arts & Jobs, London. Performances: Woman to Woman, Gallery Vela, London, 2012, Bijou, IBID Projects, London, and Darkroom with E. Peake, 2011.

Eddie Peake
, born London, 1981. Recent solo exhibitions: Adjective Machine Gun, Inside the WhiteCube, White Cube, London, 2013. Call 2 Arms, Galleria Lorcan O’Neill, Rome, 2012, DEM, Cell Project Space, London, 2012, Boydem, Mihai Nicodim, Los Angeles, The Loving Clutches of My Hands, Southard Reid, London, 2011, History, Galleria Lorcan O’Neill Roma, Rome, 2010. Solo performances: Amidst a Sea of Flailing High Heels and Cooking Utensils, Part 1, Tate Gallery, Part 2 Chisenhale Gallery, London, 2012, Huh!, Auto Italia Live, London, Contrapposto Pause, V22, London, Paws, Barbican, London, 2011 and Darkroom with P. Sahib.

Galleria Lorcan O’Neill Roma
ReMap4 ADDRESS
28 Kerameikou, ground floor
Athens

ReMap 4

Category Athens, Sauvage Vernissage, show Tags , , , ,

Alberto Giacometti – Bill Viola | GALLERIA DELLE ARTI – Torino

Statico Dinamico | Alberto Giacometti – Bill Viola
curated by 
Graziano Menolascina
21 Sep 2013 – 26 Oct 2013


Vernissage 21 Sep 2013 ore 19.00

 

Alberto Giacometti nacque a Borgonovo di Stampa, nel Canton Grigioni (Svizzera), il 10 ottobre 1901 da Giovanni Giacometti, un pittore post-impressionista svizzero, e da Annetta Stampa, svizzera discendente di rifugiati protestanti italiani. Giacometti cominciò a disegnare, a dipingere e a scolpire assai giovane. Dopo aver frequentato la Scuola di arti e di mestieri di Ginevra, nel 1919, si iscrisse a Parigi ai corsi di scultura di Émile-Antoine Bourdelle all’Accademia della Grande Chaumière nel 1922. Disparate esperienze culturali orientarono in direzioni diverse la sua operatività di questi anni. Lo testimoniano i suoi disegni, caratterizzati dalla frantumazione cubista, analitica, di ogni dettaglio, e sculture. Ne sono esempi Torso del 1925, e Donna cucchiaio (al Kunsthaus di Zurigo) che, sulla base di un lavoro di memoria, intendono portare alla luce l’essenza concettuale delle cose. Nel 1928 Giacometti entrò a far parte del gruppo surrealista (con cui ruppe nel 1935, pur partecipando alle mostre fino al 1938). In questo periodo, sul lavoro a memoria prevalgono l’immaginazione e, spesso, l’inconscio, che conducono Giacometti alla creazione di sculture assai importanti per l’idea surrealista di oggetto a funzionamento simbolicoUomo e donna, (Parigi), e Boule pendu (Sfera sospesa, del 1930, Kunsthaus di Zurigo): una forma sferica oscillante che sfiora una mezza luna allungata dentro un’ingabbiatura di ferro, introduce il problema dello spazio e della sua delimitazione, che da allora si precisa come una costante della ricerca estetica di Giacometti.Nelle sculture dei primi anni ’30 ricorrono alcuni elementi che ne costituiscono la chiave interpretativa: allusioni a parti anatomiche e organi sessuali, posti in dialettico rapporto con le strutture lineari e geometriche entro cui sono inseriti (Gabbia, del 1931, Stoccolma, Modern Museet; Palazzo alle 4 del mattino, Museum of Modern Art di New York). Il ricorso alla Gabbia pone l’idea della scultura come costruzione trasparente, corrispondente plastico dello spazio illusionistico della pittura. La stessa tematica e gli stessi elementi chiave compaiono nei disegni di Oggetti mobili e muti del 1931, forme inquietanti in quanto difficilmente identificabili, come scrive lo stesso Giacometti. La sua opera degli anni successivi tende a chiudere la parentesi surrealista. L’oggetto invisibile rappresenta un punto di riferimento: il parallelepipedo su cui poggia la donna e l’incastellatura alle sue spalle prefigurano la strutturazione di molte sue opere pittoriche successive, nelle quali ricompare la stessa delimitazione dello spazio a inquadrare le immagini. Nel decennio lavora appartato occupandosi ancora prevalentemente di scultura. Il suo interesse si sposta dal mito e dal sogno all’osservazione diretta della realtà, che si accompagna a una più consapevole preoccupazione per i materiali e le tecniche e implica una notevole trasformazione stilistica che lo conduce ad una sorta di naturismo schematico (Le mele sul buffet, 1937, Museum of Modern Art di New York). Dal 1947 riprende a dipingere e disegnare intensamente, continuando a lavorare dal vero. I temi preferiti, pochi e di continuo rivisitati, sono i familiari (la madre e il fratello Diego), gli oggetti che lo circondano, paesaggi visti e vissuti. Le figure sono fisse, immobili rigidamente frontali: la cornice che Giacometti costruisce attorno ad esse ha la funzione di allontanarle isolandole dallo spazio, creando attorno ad esse vuoto. È vicino alle problematiche esistenzialistiche; non a caso della sua pittura è stato interprete attento Sartre, che ne ha colto i riferimenti all’inaccessibilità degli oggetti e delle distanze esistenti tra gli uomini. Lo strumento stilistico scelto per tradurre in immagini le apparenze della realtà visibile è, in pittura, un segno che si infittisce e si dirada per esprimere la trama di relazioni degli oggetti fra loro e con loro nello spazio circostante, mentre in scultura grumi di materia apparentemente informi si coagulano lungo fondamentali linee di forza.

Bill Viola nato a New York nel 1951, si iscrive al College of Visual and Performing Arts della Syracuse University. Inizia a realizzare video arte nei primi anni settanta. Lavora per affermati artisti come Bruce Nauman e Nam June Paik.Bill Viola inizia la sua carriera studiando arte tra il 1969 e il 1973 alla Syracuse University di New York. Qui consegue la laurea nel 1973 in Visual e Performing Arts. Tra il 1973 e il 1974 partecipa ad una mostra collettiva realizzando dodici videotape, cinque installazioni sonore e dieci installazioni video. Nel 1975 espone per la prima volta le sue opere a due mostre internazionali: la biennale dei Giovani di Parigi e la biennale del Whitney Museum of Art. Nel 1977, Bill Viola è invitato ad esporre le sue opere al La Troube University di Melbourne dalla direttrice artistica Kira Perov,che più tardi diventerà sua moglie. Nel 1977, in Australia, incontra Kira Perov; nel 1979 cominciano a lavorare e viaggiare insieme. Nel 1980 si reca in Giappone dove trascorre diciotto mesi per una borsa di studio di scambi culturali.Negli anni ’80 Bill Viola decide di abbandonare la sua visione strutturalista dell’arte per avvicinarsi ad uno stile più visionario. È proprio in questi anni che Viola riscopre l’utilizzo della pellicola in bianco e nero, che servirà, inoltre, per la realizzazione di una mostra al MOMA di New York: la sua più grande mostra personale in assoluto. Nel 1981 lavora per sei mesi nel centro ricerche della Sony, sperimentando le più avanzate tecnologie del tempo. Rappresenta gli Stati Uniti nella biennale di Venezia nel 1995 con cinque opere riunite sotto un unico titolo: Buried secrets. Nel 1983 diviene professore in “Advanced Video” al California Institute of the Arts di Valencia. Nel 1990, due eventi segnano la carriera d’artista di Bill Viola: la morte della madre nel mese di febbraio e la nascita del suo secondo figlio in quello di novembre. Quest’esperienza, infatti, ispirerà Viola per la realizzazione del video “The Passing”: opera che assume come tema portante la morte e la nascita come simboli dell’assurdità della condizione umana. Nel 1997 gli viene dedicata la Withney Museum of American Art di New York. Nel 2000 inizia ad usare schermi al plasma e cristalli liquidi per le sue videoinstallazioni. Nel 2002 completa il suo progetto più ambizioso, Going Forth By Day, un ciclo di video ad alta definizione commissionato dal Guggenheim di New York e Berlino. Nel 2003 il J. Paul Getty Museum di Los Angeles realizza una mostra personale, The Passions, una serie di lavori sulle emozioni umane, che ottiene critiche entusiastiche e una straordinaria affluenza di pubblico anche nelle successive tappe a Londra, Canberra e Madrid. Nel 2004 realizza un video “a quattro mani” per una nuova produzione di Peter Sellars dell’opera Tristano e Isotta, presentata in prima mondiale all’Opéra di Parigi nell’aprile del 2005. Nell’ottobre 2006 torna a Tokyo con una retrospettiva che prende il nome da un video del 1981, Hatsu-Yume, Primo Sogno. Nel 2007 nella mostra Bill Viola: Las Horas Invisibles, che si tiene a Granada nel Muso de Bellas Artes, Palacio de Carlos V (Alhambra), per celebrare il restauro del Palacio stesso, sono esposte cinque installazioni. Per la prima volta in Polonia, a Varsavia, la Galleria d’arte nazionale Zacheta presenta nove installazioni in una mostra dal titola Bill Viola. L’artista ricorre a un nuovo espediente tecnico che permette di riprendere un evento in modo simultaneo e identico con due telecamere predisposte per realizzare una nuova installazione audio / video su tre schermi destinata alla Bienale di Venezia, Ocean Without a Shore. Il tema dell’installazione, destinata alla chiesa quattrocentesca di San Gallo, riguarda la presenza dei morti nella nostra vita (Ibn al-’Arabi, 1165-1240). La mostra a Roma nel 2008.

Cortile Lagrange, Galleria delle Arti
Palazzo Cavour
Torino

Category Sauvage Vernissage, show, Torino Tags , , , , ,

Group Exhibition | EXTRASPAZIO

Paradise Now | 4 Jul 2013 – 26 Jul 2013
curated by Manrica Rotili

Paradise Now was one of the Living Theatre’s most disruptive shows which, at the end of the sixties, took the company to its revolutionary peak. There are many reasons behind choosing this title for a collective exhibition by six young Italian artists appearing at extraspazio for the first time.

It was inspired in part by the idea of considering the exhibition dimension as a stage on which the different poetics propounded by the six actors come into play, generating an intermingling of visual languages that highlights their coexistence and reciprocal encounter.

It is a case of hybrid, apparently incongruent expressive languages, deliberately heterogeneous and in some cases still experimental, which show a cross-section of creative power Made in Italy. The artists involved - Stefania Artusi (Palermo 1990), Romina Bassu (Rome 1982), Gianni Cipriano (Palermo 1983), Giulia Giannola (Naples 1985), Paolo Polloniato (Nove 1979) andAngela Zurlo (Foggia 1982) – come from extremely different artistic territories and represent five categories of art: sculpture, photography, painting, video and installation.

In line with its theatre forerunner, Extraspazio’s Paradise Now also aims to be chaotic and experimental, aims to narrow the gap between exhibition stage, reality and fruition, favouring a set-up without frames, glass, display cases, screens or any other element external and extraneous to the work.

All in function of an immediacy which leads to an impulsive, spontaneous aesthetic experience and brings Paradise Now close to ‘an explosion of happiness and revolutionary optimism’ in a period of history when the search for paradise (earthly, ideal, mental, artistic) seems like a sort of collective utopia which many have renounced.

Many but not all. The 53.000 or so sub-Saharan and North Africans who in 2011 managed to pass through the so-called ‘Gate to Europe’ of Lampedusa are seeking paradise. The tents they build with metal poles, paper bags, clothes and mattresses, and which Gianni Cipriano offers us in the photographic series Hill of Shame (2011), are for them a precious moment of precarious stability. The photographer’s intention is quite clear: his images do not immortalise the desperation and disorientation of these men but rather their gesture of hope, building something of their own in a land not their own. Like spontaneous architectures the tents thus become the shelter of a dream and make their dwellers’ stay on the hill a more tolerable limbo. They become the symbol of a calm chaos and the metaphor of an existence: nothing is planned, everything is closely bound and each element is essential to supporting the other.

The fleeting and intense conquest of a carnal paradise, of a physical ecstasy, is portrayed by Stefania Artusi in her work Verrà la morte e avrà i tuoi occhi [Death Will Come With Your Eyes] (2013, printer’s ink on wallpaper). The body is absolute protagonist in Artusi’s poetics, as in the other two works on show: Boy with grass leaves on his hand (2013) and Untitled (2013), both oil and charcoal on vegetable cardboard. Bodies that go beyond the concept of “body-object” or “body-representation”, setting themselves in antithesis to both the traditional Platonic principle of the body as prison of the soul and the Cartesian distinction of the body as res extensa as against res cogitans. Artusi’s bodies are living bodies, bodies that have experienced, the bodies of Husserl’s ‘ontology of flesh’. Not Körper then but Leib: it is the experience of her own body that this young Palermo artist brings to her work. Living flesh that seduces the eye, portrayed through an instinctive, flowing pictorial gesture, through performance painting, as Artusi herself likes to call it.

Paolo Polloniato‘s sculptures are a kind of paradise of lost forms. The artist comes from a family that for two centuries has been linked to production of ceramics in Nove (one of the most important centres in Italy) and he has inherited a variety of moulds and forms belonging to other ages which become the departure point for his works. Among the pieces on show in Paradise Now is Metamorfosi [Metamorphosis](2011), the formal transformation and metamorphosis of a form obtained from an original 19th century model by the Manifattura Barettoni factory, formerly Antonibon, of Nove, in white clay beneath a white glaze, fired at 980°.
Polloniato’s work is a kind of editing of the historical and ideological narratives of the past which allows him to re-programme existing pieces by giving them a contemporary form. So through investigation and manipulation of moulds from the various historic manufacturers of his hometown Polloniato creates conceptual sculptures and installations in which tradition, related to the present day, generates new scenarios. This is how the artist has inaugurated an unprecedented way of inhabiting historicised styles and forms.

Romina Bassu also draws on an archive from the past, a photographic archive. Memoria lineare [Linear Memory] (2013, watercolour on Fabriano paper) is part of her ‘Anonymous Archive’ project which involves the collection of photographs from the (more or less recent) past and their reproduction as paintings. Bassu reflects on the links between individual and collective memory. Her intention is to put forward a sort of archaeology of recollection: observing the figures in Linear Memory we find ourselves in relationship with our own past although we are looking at unknown people and portraits. As if these nameless faces had the power to trigger everyone’s personal memories. An anonymous repertoire that recovers and therefore seeks to understand the continuum between universal and individual history.

Individual and society, individual action and collective action are some of themes around which Giulia Giannola‘s work turns. The artist presents a video, Tinker Tailor Soldier Sailor (2012), which takes its name from the English nursery rhyme datable between 1475 and 1695, sung by children in a counting game with buttons, flower petals, cherry stones, pebbles or other objects in order to ‘determine’ their future job: tinker, tailor, soldier, sailor, rich man, poor man, beggar-man, thief. Giannola converts the game into factory work, staging a human production line intent on extracting seeds from watermelons. Each individual has his role, mechanical, repetitive, punctuated by the rhythms of the nursery rhyme which is recited by the last link in the chain who is involved in counting the seeds. A reflection on work conditions in a factory before the industrial revolution where the workers act like mechanisms of an immobile engine. The selection of each frame, the formal balance, the aesthetic care and the repetitiveness of the rhythm exalt this work of Giannola who succeeds in transforming the scene into a theatrum mundi in which we can all recognise ourselves.

The theme of paradise returns in the work of Angela Zurlo, evoked by the title or by the meaning of the works themselves. In Angeli Mai [Angels Never] (2010) the artist traces with woollen yarn the profile of two angels on a sheet of English wallpaper mounted on canvas, as if with the embroidery she wanted to capture the evanescent passage of the two celestial bodies on paper to keep as a relic. Annozero [Year Zero] (2010/2011) is a series of 70 single-portion cereal bags on which Zurlo has hand-stitched the outline of a child, always the same child, using cotton thread of 70 different shades. The artist’s poetics revolves around rediscovery of the traditional art of weaving through the creation of works and installations that update the art of embroidery in a contemporary key. The works on show carry deep and sharp messages, bitter and strong, linked to the theme of loss and abandon, and they do this by means of delicate forms, poetic and light, that exude beauty and melancholy.
EXTRASPAZIO
Via San Francesco di Sales, 16/a
Rome

 

Category Rome, show

A Retrospective Ranging From Black History To Underwater Fantasy At Tate …

Ellen Gallagher, Bird In Hand, 2006. Copyright Tate and the artist.

Not all retrospectives at Tate Modern can be blockbusters like Lichtenstein. But this is no bad thing as we discovered in the subtle and intricate sculptures in the Saloua Chouchair exhibition. The latest artist to be afforded a look back at her career is Ellen Gallagher, an artist who’s well known across the Atlantic but less so on our shores.

She uses a wide variety of media from collage to film and her work can range from the highly political to the downright bizarre. The early rooms in the exhibition take a look back at black history with surreal artworks that give statues of Pharaohs a makeover so they resemble African Americans – a nod to how black roots can be traced back to the ancient Egyptians.

Her famous ‘yellow paintings’ employ a similar tack by accentuating features on adverts targeted at black men and women. However, these comic and over the top interpretations often detract from her political message about race and discrimination. The exception are her ‘black paintings’, where shapes form and coalesce yet remain unclear in the darkness – they are both disturbing and ominous.

Many of her semi-abstract works, including the films, seem lost between being either figurative or surreal and therefore any message within them tends to get washed out. We liked the abstract work made from strips of paper painted blue where shapes appear in the density of the work, but most of the other pieces didn’t spark a dialogue with us.

There are some impressive works here but they are vastly outnumbered by ones where the artist can’t quite figure out whether she wants to be abstract, surreal or making a political statement about race and history. It’s this lack of cohesion that ultimately results in a disappointing exhibition of work.

Ellen Gallagher: AxME is on at Tate Modern until 1 September. Tickets are £11 for adults and a joint ticket with Choucair is £15. Concessions available.

Category Sauvage Vernissage

On the Market: MoMA’s Other Architectural Victims; Villagers Rage Against Bike …

Bloomberg gives 9/11 Museum $15 million loan from his personal fortune. [NYT]Hotel on East 45th Street will become (rare) time share. [Crain's]Mold problems that cost half-a-million dollars and endless headaches to fix. [WSJ]So charming! Oldest (built in 1799) house in the Village tries for $6.9 million. [Curbed]Citing poverty-level wages, unions file suit to stop City Point construction. [Daily News]Like all reality shows, ”Million Dollar Listing” is staged for maximum drama. [NYT]Kips Bay residents horrified that micro-units will bring in riff-raff. [WSJ]Glenwood files demolition permits for UES buildings, preparing for new development. [TRD]Councilman opposes sheik soccer stadium because of Abu Dhabi’s record on gay rights. [Capital NY]The 3-year-old James Hotel in Soho sells to Prudential Financial for $85 million. [Crain's]The most spacious 425-square-foot apartment ever. [Curbed]Classic NIMBY: notoriously change averse, cranky Villagers hate bike share racks. [DNAinfo]The Folk Art Museum is not the first building to be crushed under a MoMa expansion. [NYT]A wait for the bathroom: modular bathrooms’ arrival at Coney Island delayed. [Daily News]East River Blueway plan aims to make a continuous ribbon of green up the east side. [Crain's]

Follow Kim Velsey on Twitter or via RSS. kvelsey@observer.com

Category Sauvage Vernissage

Podcast and internet radio picks: Tate Modern, Monocle 24: Culture

Recommendations can be sent to Pete Naughton at
pete.naughton@telegraph.co.uk

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TV Radio on Twitter

Category Sauvage Vernissage

With a Museum for a Neighbor …

But MoMA’s plan can hardly be a surprise, because its entire history since 1937 is based on demolishing potential landmarks.

Construction of big, comfortable brownstones began on this block of West 53rd in 1867. It was certainly reassuring when, in 1884, John D. Rockefeller bought the free-standing brownstone at 4 West 54th Street along with its spacious garden, promising to be a most congenial backyard neighbor.

In the 1890s serious money began to move onto 53rd and built houses to match, like William Barbour, a linen merchant who in 1901 had the architect C. P. H. Gilbert design a chaste limestone mansion at 11-13 West 53rd Street, later occupied by MoMA as its first building.

The following year the banker George Blumenthal hired Hunt Hunt to design a deliciously corpulent Beaux-Arts house at 23-25 West 53rd, which later became MoMA’s bookstore. In 1905 Archibald Rogers, a yachtsman and engineer, began a sober limestone town house at 35 West 53rd, and John D. Rockefeller Jr. backed both men up with his eight-story limestone house at 10 West 54th Street, designed by William Welles Bosworth. That is sometimes described as the tallest single dwelling ever built in New York. Houses by Gilbert, Augustus Allen and other prominent architects joined the crowd.

Even though they chose a side-street address, these were people with Fifth Avenue fortunes. The 1910 census found Blumenthal at home with his wife and 12 servants, including a valet, a butler and two footmen. But desertions began in 1911, when Blumenthal himself began a huge limestone house at Park Avenue and 70th. In 1922 the remaining householders fought off an attempt to convert his 53rd Street place into a club, but things were beginning to fall apart, and in 1924 it was the subject of an ad in The New York Times: “The House — A Jewel; The Price — A Bargain.”

The Rockefeller family had started protecting their West 54th Street properties by purchases on 53rd Street as early as 1900, and in 1924 they bought the old Barbour house at Nos. 11-13. They eventually began to see tarnish on the sterling reputation of the West 50s, and started spending more and more time at their house in Westchester. But they still owned 10 houses on West 53rd Street alone, and others on 54th.

So the family must have found it distressing when, in 1932, the Blumenthal house, then operating as the Bath Club, was raided by Prohibition agents who, while securing the premises, had to turn away “scores of fashionably dressed customers,” as The Times put it.

It was particularly convenient, then, when the fledgling Museum of Modern Art, co-founded in 1929 by John D. Rockfeller’s wife, Abby, outgrew its office building quarters on Fifth and 57th. The Rockefellers gave the museum a new home in the old Barbour mansion. This the museum outgrew in 1937 and replaced with a work of sleek modernism.

Fortune once more smiled on MoMA when the Rockefellers gave it their old homestead on West 54th Street, which became a sculpture garden. The museum began acquiring neighboring properties, including flanking town houses, which it also demolished. By the 1960s the remaining private houses on the street had been converted to apartments and stores.

In the 1970s MoMA began mobilizing for the grand expansion resulting in the 52-story Museum Tower development next door, depicting it as a matter of survival. This required the demolition of a row of buildings, including the Blumenthal and Rogers houses, but the subject of landmark designation did not even come up. Preservation organizations have little incentive to run afoul of the boards of influential cultural institutions.

Even Ada Louise Huxtable, clearly unhappy with MoMA’s plan, did not broach the subject in a 1979 article in The Times, “Side Street Spoilers.” MoMA got a pass on the issue of landmark protection.

MoMA had a neighbor on the block, the American Folk Art Museum, which had acquired the six brownstones at 45-55 West 53rd Street and had its own grandiose plans, including a 31-story office building with a three-story museum at the base, a deal that fell apart in the 1990s.

Meanwhile, MoMA continued vacuuming up the rest of the block, demolishing both the 19-story Dorset Hotel on West 54th Street and the 1907 City Athletic Club next door, which was a possible landmarks candidate.

The American Folk Art Museum, its sails much trimmed, built its present structure 12 years ago, to much praise from the architectural press.

Now it, too, will fall, while MoMA proceeds to fold the folk art site into its own, and also take the lower floors of a tower to be built to the west. That will leave the museum in possession of four-fifths of a city block, and no further place to go … but up. Fortunately, the new tower will be a thousand feet high.

E-mail: streetscapes@nytimes.com

This article has been revised to reflect the following correction:

Correction: May 3, 2013

An earlier version of this article included a photo of a building incorrectly identified as the Blumenthal house.

Category Sauvage Vernissage

Un-Green Building: MoMA’s American Folk Art Mistake

One of the greatest attributes of a world-class city is its ability to respect and add new context to the works of previous generations of architects. Some old buildings come down to make way for new, allegedly more efficient ones, but in most cases those targeted for the wrecking ball are either old and crumbling, or hold little architectural value.

Neither of these criteria applied to the recent decision by the Museum of Modern Art (MoMA) in New York City to demolish a 12-year-old adjacent building simply because it doesn’t fit with the look of a planned massive expansion. After purchasing the 40,000-square-foot, eight-story building for $32 million in 2011, MoMA has made the very un-green decision to tear it down and start from scratch.

The bronze facade of the building formerly known as the American Folk Art Museum in New York. Image via Detelf Schobert / Flickr.

The bronze facade of the building formerly known as the American Folk Art Museum in New York. Image via Detlef Schobert / Flickr.

The doomed structure, built in 2001 from a design by architects Tod Williams and Billie Tsien, was originally home to the American Folk Art Museum on West 53rd Street in Manhattan. The large bronze panels on the façade were a deliberate contrast to the glazing on the skin of the much larger MoMA building that engulfed it on three sides. At the time of its opening, the Folk Art Museum was the first new museum to be built in New York in nearly 30 years and was lavishly praised for its ability to squeeze so much into a narrow 40-foot by 100-foot space.

The museum, however, foundered and was unable to pay for the $32 million debt incurred during construction. In 2009, the museum defaulted and eventually moved to a new space in New York’s Lincoln Square on West 66th Street. Now, MoMA wants to build an 82-story expansion tower on the site to match its current floor plan and style of glazing. The bronze façade of the 2001 building, MoMA said, was simply “too opaque” to fit into the design, so it has decided to turn it into tons of rubble instead.

The doomed building, as it appeared soon after it opened. Image via arcticpenguin / Flickr.

The doomed building, as it appeared soon after it opened. Image via arcticpenguin / Flickr.

In the weeks following the April 10 announcement, a petition from the Architectural League of New York has been circulating, asking MoMA to reconsider and make some modifications to keep the Williams and Tsien design intact. In another form of protest, a new meme was created on Tumblr at #FolkMoMA depicting various suggestions for how the bronze façade could be worked into MoMA’s plans — some more tongue-in-cheek than others.

“The public has a substantial and legitimate interest in this decision,” the Architectural League petition reads. “The Museum of Modern Art has not yet offered a compelling justification for the cultural and environmental waste of destroying this much-admired, highly distinctive 12-year-old building.”

MoMA explained that, because the former museum is set back too far on the footprint, the floors of the planned expansion won’t line up evenly with the existing building. While this would pose a challenge, it is one that can be overcome with a little creativity, said architecture critic Justin Davidson in a recent Vulture magazine article. A 1980 project by the Metropolitan Museum, Davidson wrote, managed to incorporate a smaller free-standing, offset building into its exhibit space.

Surely there is a better — and much greener — compromise than throwing away $32 million of investment and creating another enormous pile of demolition waste out of something that only a dozen years ago was considered a reputation-setting masterwork by Williams and Tsien, winners of the 2013 AIA Architecture Firm Award.

As Cathleen McGuigan wrote so bitterly and eloquently in her Architectural Record editorial last month, “MoMA was the first museum to establish a department of architecture and design, and is now both judge and executioner of an acclaimed modern building by one of America’s most distinguished practices.”

Category Sauvage Vernissage

Caserta, omaggio a Carla Accardi alla galleria Nicola Pedana Arte …

 

CASERTA- Si inaugurerà oggi, sabato 4 maggio alle ore 19, presso la galleria Nicola Pedana Arte Contemporanea in via Don Bosco 7 a Caserta, la mostra Carla Accardi. Vitalità del segno”, a cura di Teresa Lucia Cicciarella. In esposizione tredici opere realizzate dall’artista a partire dagli anni Sessanta fino ad arrivare a quelle più recenti. In occasione del vernissage sarà presentato il catalogo, edito da Nicola Pedana Arte Contemporanea / Grafica Nappa, Aversa 2013. Il volume contiene i testi di Enzo Battarra e Teresa Lucia Cicciarella, oltre alle riproduzioni delle opere esposte. La grafica è di Teresa Orazio – doppiorizzonte.com.

Le opere dell’Accardi saranno in mostra alla galleria Nicola Pedana Arte Contemporanea fino al 16 giugno prossimo. Si tratta di un evento di straordinaria rilevanza, un omaggio alla Signora dell’arte italiana. La mostra è patrocinata dal Comune di Caserta. Nel testo la curatrice così scrive: “Dai segni luminosi tracciati sul trasparente sicofoil fino alle tele e alle tempere su carta, il percorso d’esposizione getta uno sguardo sulla lunga e feconda carriera dell’artista nata a Trapani nel 1924 e romana d’adozione, promotrice e protagonista indiscussa della sperimentazione artistica. Un’opera, quella dell’Accardi, che ha ampiamente oltrepassato i confini italiani, dalla prima partecipazione alla Biennale di Venezia (1948) seguita al significativo debutto sulla scena nazionale con il gruppo Forma 1 (1947), promosso nella Capitale con i colleghi Attardi, Consagra, Dorazio, Guerrini, Perilli, Sanfilippo e Turcato. Il successivo confronto con il critico Michel Tapié, teorico dell’Informale, ha fatto seguito a una ricerca già incentrata, da parte dell’Accardi, sul segno, elemento di definitiva liberazione della pittura dal vincolo classico di riproduzione del reale, e maturazione della scelta operata, tra la metà degli anni Quaranta e i primi Cinquanta, a favore dell’astrazione. Questa, riconosciuta come forma d’espressione moderna, sincera, rispondente alle richieste e alla sensibilità di un mondo emergente a stento dalle macerie del secondo conflitto mondiale, si era precisata e sintetizzata nel biennio 1953-’54 divenendo segno grafico, seme nato – come poi dichiarato dall’artista nel 1982 – dalla volontà di fare tabula rasa, eliminando tutto il superfluo e concentrando colore e forma su un elemento base che varia, si aggrega e struttura in maniera sempre nuova”. “Ho sempre usato la pittura come un’ispirazione di antipittura, è un desiderio di contraddizione”, ha dichiarato l’Accardi in un’intervista nel 2004, dicendo di una contraddizione che è urgenza vitale, principio di un’espressione energica e svincolata da barriere e forme preconcette. La luce mediterranea tesa fino al limite del colore fluorescente, gli accostamenti squillanti e le vibrazioni cromatiche, padroneggiano lo spazio pittorico tratteggiando la firma, unica e inconfondibile, della Carla Accardi sulla quale tanto è già stato detto e scritto dai protagonisti della grande critica, eppure tanto è ancora da vedere e da sentire. La curatrice poi aggiunge: “Il titolo dell’imminente mostra, che sarà allestita presso la galleria Nicola Pedana Arte Contemporanea fino al 16 giugno, trae infine spunto da quella vitalità che, come ricorda il critico Germano Celant (2011, riportato da Rachele Ferrario, 2012) si conferma essere “la parola chiave della biografia di Carla Accardi”. Una biografia inscindibile dalla ricerca e dal lavoro creativo.

Category Art around

"5 ELEMENTI 5" LA MOSTRA DI ARTE CONTEMPORANEA

o4m Odaka per mostrARTI

Via Di Santa Maria in Monticelli,66

Tel: 0645492220

“5 Elementi 5” legno . fuoco . terra . metallo . acqua Armonie e contrasti della natura visti attraverso l’Arte e il Feng Shui

dal 11/05/2013 al 30/05/2013

La mostra collettiva presentata presso il complesso dell’Ex Cartiera Latina di via Appia Antica, debutterà sabato 11 maggio con un nuovo allestimento presso 04m Odaka per mostrArti in via S. Maria in Monticelli , 66.

Uno spazio contenitore di idee e di arte nella contemporaneità dei suoi artisti, che si mostrano in un contesto differente, nella fusione tra le discipline dello Yoga e la passione per l’arte.


Tra yoga e arte.

Dalle idee ai fatti, dagli ideali al suggestivo piacere di vederli prender vita. La pittura può essere una forma di yoga: lo yoga che propone una creazione, in quello spazio di arte senza confine che si apre al colore e si espande dal colore all’unione.

 

Programma sabato 11 maggio:

 

Ore 18.00 Apertura mostra

Ore 18.30 Breve esposizione teorica sul Feng shui di Luigi Straffi e Pasquale Fonte docenti della Fengshuiroma architecturedesign School

Ore 19.00 Demetra | Prosa Poetica di Antonella Catini Lucente

Ore 19.30 Performance di Yoga

 

Artisti:

Rosella Barretta, Rossana Bartolozzi, Mariagrazia Borhy, Antonietta Campilongo, Cristina Castellani, Antonella Catini, Federica Cecchi, Andrea Ciampini , Elena Colusso, Davidbart (Davide Preti) Sara De Nardis, Francesco Fai, Elvi Maccari, Sante Muro, Lucia Nicolai, Sabrina Pantacchini, Adalgisa Santucci, Claudia Scalera, Angela Scappaticci, Antonella Spanò, Andrea Sterpa, Paolo Vignini.

 

Performance:

Il moto come onde che si inseguono

degli istruttori dell’accademia di Yoga “Odaka”

 

Ruggero Ruggeri

Paola Bonucci

Petra Szerdahelyi

Gaia Del Vecchio

Aver speso molto tempo a contatto con l’oceano mi ha dato l’ispirazione per creare una forma di Yoga “liquida”, dove fossero racchiusi tutti questi aspetti, dove i concetti basilari si fondano su fluidità, adattabilità, trasformazione e potenza al contempo. Basato sulle dinamiche del moto degli oceani e dei ritmi corporei ai quali ci connettono, il fluire della pratica dello OYC ci offre la sensazione di “fonderci con il nostro corpo fino ad assumere una forma liquida”. Nel far questo, sperimentiamo un senso di libertà e l’abilità di trasformare ogni vincolo e limite per scoprire nuove “forme” in noi stessi.

Roberto Milletti

Vernissage: sabato 11 maggio ore 18.00

Orari di apertura al pubblico: lunedì . mercoledì . giovedì ore 14.30 – 17.00 martedì . venerdì ore 11.00 – 17.00 | sabato 14.00 – 19.30 | domenica chiuso

Ingresso mostra: libero

Eventi a Roma 


Category Art around

Castrovillari: dal 12 maggio la rassegna d’arte contemporanea …

Un momento da non perdere per il messaggio che lancia. Dal 12 maggio, quando verrà inaugurata alle ore 18, al 12 giugno il Castello Aragonese di Castrovillari accoglierà, nei suoi spazi espositivi, la rassegna d’Arte contemporanea “Rosa dei Venti”.

“L’esposizione – spiegano gli organizzatori- , caratterizzata dai contributi calabresi di Biffi, Clemente, Credidio, D’Amico, Diaco, De Marco, De Simone, Dzhumaeva, Ferraro, Guido Liguori, Paese, Palazzo, Prezio, Pugliese, Romeo, Spina, Stasi, Tridico, Veneruso, De Luca, mira a far incontrare persone con percorsi umani e culturali differenti, favorendo l’arricchimento reciproco e il confronto tra espressioni artistiche e linguistiche varie con la cultura locale, permettendo, così, al territorio di appropriarsi di espressioni artistiche inedite per esprimersi in modo nuovo e promuovere e facilitare il processo di comprensione dell’arte contemporanea.”

L’appuntamento si tiene in collaborazione con l’Amministrazione Comunale “per volontà del Sindaco, Domenico Lo Polito, e del consigliere Lucio Rende con delega alla Cultura, sempre sensibili – affermano i promotori dell’appuntamento- a tutto ciò provoca positivamente la realtà e scaturisce dalle capacità presenti di uomini e donne nonché dal  desiderio di porre testimoni appassionati dell’attività artistico- culturale e creativa”,  e grazie alle  associazioni Sifeum e Mystica Calabria di Castrovillari nonché Ucai e Cif- Sezione di Corigliano Calabro.

Il coordinamento artistico è affidato, invece, a Maria Credidio, presidente Ucai e ideatrice del progetto la quale spiega che “la Rosa dei Venti- Sud in Azione Invasioni Creative è una manifestazione di arte sociale; si tratta – afferma – di un momento importante di contatto tra l’arte e la gente del Sud.  L’arte non, per questo, ha confini, e non si fa fermare da pregiudizi, anzi gli artisti che sono stati invitati  in questa prima edizione hanno voluto creare qualcosa che potesse rispondere a un desiderio che è profondamente umano: la bellezza.”

L’intervento critico,poi, è curato da Mario Vicino, storico dell’arte e membro della Deputazione di Storia Patria per la Calabria, mentre l’allestimento della mostra è firmato da Ines Ferrante, coordinatrice delle attività culturali dell’Associazione Sifeum e presidente dell’Associazione Mystica Calabria la quale ricorda che “tutte le attività che si prefiggono di promuovere quei fenomeni artistici,che per valore etico e qualità culturale tipicizzano il nostro territorio, tra talenti ed eccellenze calabresi, sono da sempre all’attenzione dell’associazione Mystica Calabria.”

In occasione della manifestazione è stato organizzato anche un pregevole catalogo curato da Antonietta Meringola,  editrice di Apollo Edizioni. “

Category Art around

La scuola diventa un museo di arte contemporanea

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L’AQUILA Anche chi ha negli occhi la polvere delle macerie, ne sente il pizzicore dentro le narici e non riesce a dimenticare la sensazione tremenda del respiro che si spezza in gola, può coltivare sogni. Da tenere vivi e pulsanti nel cuore, non chiusi in un cassetto. Lo sanno bene gli studenti del Liceo scientifico «Bafile» dell’Aquila, che ospitano nella sede della scuola la terza edizione di un progetto bello, profondamente significativo, nato da un’idea della docente Licia Galizia, che ha trasformato in un museo di arte contemporanea l’edificio di via Colle Sapone. Con «Polvere negli occhi, nel cuore sogni» si arricchisce di altre sei opere la collezione già composta di 40 dipinti realizzati nel plesso durante le edizioni precedenti. L’inaugurazione è in programma domani, sabato 4 maggio, alle 16. I protagonisti stavolta sono Gianni Dessi, Sergio Fermariello, Neola Onlus, Chiara Mu, Mario Sasso e la rivista Aria che hanno donato i loro lavori al Liceo «Bafile», grazie al sostegno dell’associazione Amici dei Musei d’Abruzzo, all’aiuto della rivista Mu6, in collaborazione con il Centro Ricerche Musicali di Roma e Progetto Arte Contemporanea dell’Aquila. Tutto cominciò nel 2010, a meno di un anno dal terremoto, quando la professoressa Galizia riuscì a coinvolgere 26 colleghi, che regalarono alla scuola un’opera originale ciascuno, offrendo ai ragazzi la possibilità di diventare protagonisti della realizzazione attraverso alcuni laboratori. A un primo blocco di lavori di artisti italiani di fama internazionale che crearono dipinti eterogenei per stile, linguaggio e mezzi espressivi, si aggiunsero nel 2012 altre venti opere, varate insieme agli alunni del Liceo. Il tema drammatico del disastro ambientale, il fil rouge dell’iniziativa, con gli studenti subito pronti a partecipare attivamente all’allestimento delle creazioni ispirate a un evento tragico vissuto sulla propria pelle. Perché la catastrofe del 6 aprile 2009 si supera sì, ma non si dimentica. Incontrando gli artisti nel corso dei laboratori, i ragazzi hanno lavorato con loro e dialogato sul tema del dolore, della morte, ma anche della rinascita e della ricostruzione. «Tre i punti di forza del progetto – spiegano i promotori – che segna un unicum nel Paese. La scuola, spazio in cui si forma la coscienza dei cittadini del domani, diventa un luogo d’arte. È un investimento sul futuro. A dover essere sottolineato, poi, il valore morale ed estetico della collezione per una città che da quattro anni è stretta nella morsa della distruzione, del precario. Infine, il progetto è un’occasione di crescita anche per il mondo dell’arte italiana, o almeno degli artisti che hanno affrontato, visitando la città e lavorando insieme ai ragazzi, una riflessione sul passato, sul futuro, sul ricordo, sulla speranza, sul valore della condivisione». Oltre ai sei partecipanti di quest’anno già citati, ecco gli artisti che hanno aderito al progetto:(edizione 2010) Claudio Adami, Gianni Asdrubali, Andrea Aquilanti, Lucilla Catania, Oreste Casalini, Elvio Chiricozzi, Enzo De Leonibus, Neola Onlus (con Bruna Esposito, Franco Fiorillo, Emanuela Barbi, Enzo De Leonibus e Fabrizio Sartori), Emanuela Fiorelli, Franco Fiorillo, Mauro Folci, Licia Galizia, Francesco Impellizzeri, Franco Ottavianelli, Laura Palmieri, Marina Paris, Daniela Perego, Roberto Pietrosanti, Paolo Radi, Oliviero Rainaldi, Massimo Ruiu, Vincenzo Rulli e il compositore Alessio Gabriele. Edizione 2012: Giovanni Albanese, Marco Appicciafuoco, Diodato Baldo, Luigi Battisti, Carlo Bernardini, Gregorio Botta, Tvrko Buric, Fabrizio Corneli, Giulia Frati, Felice Levini, Adele Lotito, Daniela Monaci, Piero Mottola, Claudia Peill, Alfredo Pirri, Piero Pizzi Cannella, Giuseppe Salvatori, Giuseppe Stampone, Fernanda Veron.

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Stefania Marini

Category Art around

Tutto pronto per la mostra di arte contemporanea ‘Il sopruso silente’

Il Sopruso Silente” è una mostra collettiva itinerante di arte contemporanea sia figurativa che letteraria. La prima tappa si è svolta a Ferrara nel mese di Marzo. Gli artisti esposti sono più di trenta, provenienti da tutta Italia e da oltre confine. Il tema che lega tutte le opere è la violenza quotidiana nelle sue molteplici forme (violenza sulle donne, malattia, dipendenze, violenza derivante da ruoli sociali, ma anche da aspetti di tipo culturale, tradizionale e ambientale).

Il Sopruso Silente” è organizzata dal Collettivo Artistico “Non Cresco Più”, in collaborazione con l’Associazione Psike, e si svolge nell’Ex Chiesa San Carlo dei Barnabiti (Via S.Agostino 23, Firenze) da venerdì 3 a domenica 5 maggio 2013.

Il curatore è Sandro Fracasso, che spiega: “c’è una sensazione di paura e di precarietà che permea il nostro quotidiano. Quello che molti chiamano stress è forse meglio espresso come l’esito inarrestabile di un sopruso silenzioso, che si insedia dentro di noi e scava tra le macerie del nostro esistere, fino a trovare il punto di rottura. Di lì in poi si possono comprendere, ma non assolvere, le vite stroncate anzitempo, per propria stessa mano e per colpo inferto soprattutto sui più deboli. Tra questi, i naufragi di milioni di giovani che non riescono più a credere nella propria vita, che attendono una fine che svuoti. Il tema del carcere è particolarmente importante in questo senso di frustrazione assoluta. L’uomo privato della libertà deve poter mantenere un’umanità, deve trovare una strada nella reclusione. Ogni attività che lo possa rieducare, i dati sono evidenti, lo aiuta a reinserirsi adeguatamente nella società.”

La mostra, che prevede, contemporaneamente all’esposizione, anche eventi musicali e letterari, ha come fine quello di raccogliere fondi per l’Associazione per i diritti dei detenuti “Pantagruel”, che opera nel carcere di Sollicciano (Firenze). Nello specifico, i proventi derivanti dalle offerte dei visitatori saranno devolute al finanziamento di attività di recupero sociale dei detenuti attraverso laboratori manuali.

Mostra ad ingresso libero ed offerta libera.

 

Orari di apertura: venerdi 3: 17-24, sabato 4:

 11-24, domenica 5: 14-20.

Artisti in Mostra a “Il Sopruso Silente”: Alessio Balduzzi, Michele Barbieri, Stefano Bonazzi, Carlo Bollani, Claudia Ceolin, Donatella D’Angelo, Simona De Marchis, Roberta De Tomi, Massimo Durelli, Pietro Fornari, Sandro Fracasso, Antonella Iaschi, Luna Malaguti, Andrea Manica, Alice Martemucci, Nevia Marten, Terry May, Gianluca Miano, Attilio Mina, MS Larsen, Maruska Nesti, Marija Obradović, Patgamb, Marco Pieraccini, Pietro Pontieri, Irene Raspollini, Emiliano Rinaldi, Rebi Rivale, Francesco Rossi, Federica Stella, Stefano Urban, Rafael Vindigni, Rami Zakaria.

Saranno, inoltre, esposti componimenti e poesie di reclusi ed ex reclusi del carcere di Sollicciano.

Psike è un’ associazione di promozione  sociale e  culturale, costituita nel dicembre 2012 da un gruppo di giovani artisti di varie discipline (pittura, fotografia, scultura, scrittura). E’ già attiva sul territorio fiorentino a livello di Collettivo da tre anni ed ha collaborato sia con istituzioni pubbliche che con privati ed altre associazioni. L’’obiettivo del progetto Psike è la creazione di un libero spazio artistico nella città di Firenze; un luogo che promuova e sostenga le varie discipline di espressione contemporanea  e gli artisti emergenti; una piattaforma aperta al confronto, alla riflessione, alla discussione ed all’’approfondimento culturale e metodologico correlati al tema dell’’arte nel presente e nel futuro, rivolto all’’intera collettività.

Category Art around

Ellen Galagher: AxME, Tate Modern – exhibition review

It shows the French painter drawing a woman lying on a bed surrounded by Orientalist tapestries, an image seen as a symbol of colonialism, with the western male gazing at an exotic “other”. Gallagher, as an African-American woman, amusingly turns the image around: her face replaces the model’s, and stares — questioningly, even sarcastically — at the artist. Matisse’s head, meanwhile, has been replaced by Sigmund Freud’s. Who now is being analysed?

Rich webs of references underpin all Gallagher’s work. Across 11 rooms, this huge show looks at thematic groups, each balancing abstraction and playful visual improvisation with hard-hitting takes on black culture and history.

Her mid-Nineties breakthrough works at first appear to be reductive abstracts formed from small pencil lines. Draw closer, and they’re revealed as bug eyes and fat lips, disembodied elements of the grotesque caricatures of vaudeville minstrels. This “ephemera of minstrelsy”, as Gallagher calls it, reappears throughout the show in different settings and guises — in white bands on her dense late-Nineties Black Paintings, in a cluster in her collage So Fun from the series Deluxe (2004).

Even when apparently whimsical, Gallagher tackles black history. In her delicate and enchanting quasi-scientific paintings of whales, eels and octopuses, ghostly heads appear, relating to Drexciya, a mythical Atlantis born from slaves that leapt or were thrown to their deaths at the bottom of the ocean. And in her grids of wig adverts cut from black-orientated magazines and embellished with brilliant hairpieces fashioned from yellow plasticine, she plays on the importance of the afro hairstyle for the Sixties Civil Rights generation.

Those grids feature hundreds of images, each one absorbing. And that’s this show’s chief problem. Gallagher is prolific and inventive but too much work makes the exhibition exhausting: a tougher edit and it would have been the stirring, funny retrospective she deserves.

Until September 1 (020 7887 8888, tate.org.uk)

Category Sauvage Vernissage

New York MoMA’s new 7-day week – Rappler.com

MORE DAYS FOR ART. Claes Oldenburg's 'Two Cheeseburgers, with Everything (Dual Hamburgers),' 1962. Image from the MoMA Museum of Modern Art Facebook pageMORE DAYS FOR ART. Claes Oldenburg’s ‘Two Cheeseburgers, with Everything (Dual Hamburgers),’ 1962. Image from the MoMA Museum of Modern Art Facebook page

NEW YORK, USA – New York’s Museum of Modern Art plans to move to a 7-days-a-week schedule starting Wednesday, May 1, after a similar announcement by the Metropolitan Museum of Art.

The MoMA said it was ending its traditional Tuesday closings due to strong public demand.

The expanded hours take the museum — which houses collections of Picasso and other modern masters — back to the schedule kept between its 1929 founding and 1975, when cost-cutting measures were introduced.

Since renovations at MoMA in 2004, annual visitor numbers have grown from 1.5 to 3 million.

“Expanding the Museum’s hours to be open to the public 7 days per week will help meet the demand from a growing audience,” director Glenn Lowry said.

The Met museum, with more than two million works of art from around the world, is kicking off its 7/7 schedule from July 1. Until now, the massive museum has been closed on Mondays.

“Art is a 7-day-a-week passion, and we want the Met to be accessible whenever visitors have the urge to experience this great museum,” director Thomas Campbell said, citing last year’s 6.28 million visitors. - Rappler.com

Category Sauvage Vernissage

Technology is a catalyst for contemporary art at NEW13

MELBOURNE –- Set amid a dry, sparse landscape, the Australian Centre for Contemporary Art (ACCA) gallery’s distinct red-rust steel facade is an iconic silhouette in the city’s arts precinct. At any time of year this imposing modernist building houses the latest and most significant commissioned artworks of living artists.

Now until May 12, ACCA is hosting NEW13, an annual exhibition which showcases the work of rising Australian artists, and offers audiences a sample of the latest materials, methods, themes and ideas emanating from Australia’s current contemporary art practice.

The annual exhibition, which have been hand-selected by Day herself, offers the chosen artists the chance to make new works, with financial backing from ACCA. Once selected, the NEW artists are generally considered to be rising stars in the art world.

A look back at the past 10 years reveals NEW’s success in catapulting the careers of emerging contemporary artists. For example Daniel Von Sturmer created ‘The Truth Effect’ for NEW03, and went on to to show at the Sydney Biennale and Venice Biennale.

In NEW07 Brendan Lee’s ‘Proving Ground‘ was picked up by the Tate Modern, and Christian Capurro, who produced ‘Compress’ works, went on to show at the Venice Biennale. Last year video artist Angelica Mesiti created ‘Citizens Band’ for NEW12, which subsequently opened a door of international opportunities for her.

As is the tradition, NEW is not about working to a theme –- artists are invited to make whatever they want, but often a pattern or collective theme emerges, which ACCA contends is an overall reflection of artistic thinking at a given time.

New Millennium Fountain 2013 computer controlled mirrors, sunlight, HDPE plastic, plywood, existing building structure  courtesy the artist

‘New Millennium Fountain’ by Scott Mitchell, 2013, computer controlled mirrors, sunlight, HDPE plastic, plywood, existing building structure (courtesy of the artist)

This year technology — its mutations, consumption and subversions — has emerged as one of the key themes among the works of the seven artists. This was particularly evident in the works of artists Benjamin Forster, Joshua Petherick and Scott Mitchell.

Mitchell, a Melbourne based artist, has undertaken extensive research into how the sun moves over ACCA and has, with the help with 40 mirrors and computer programming, devised an ingenious way to redirect sunlight into the furthest reaches of the hermetically sealed gallery rooms.

Starting from the roof of the ACCA building, Mitchell’s piece, titled ‘New Millenium Fountain,’ eventually culminates with two large triangular balloons that inflate (and deflate) according to how much solar power has been harnessed during this controlled trajectory.

Visitors are first confronted with the light piece in the foyer. This beam of light ricocheting off small mirrors is a deceptively simple concept, but after spending time reviewing the mechanics behind the work, one realises the very calculated intention by the artist.

The installation reflects Mitchell’s ambition — to subvert the physical dimensions of the exhibition space itself, by going beyond ACCA’s four walls.

“It’s a kind of sculptural form in itself,” Charlotte Day, ACCA’s associate curator, says. “The space has a particularly dynamic quality, the walls are angled and the ceilings go higher. Artists often want to respond to it in some way.”

Benjamin Forster Dysgraphia 2013 deconstructed LCD screen, custom electronics, rock

‘Dysgraphia’ by Benjamin Forster, 2013 deconstructed LCD screen, custom electronics, rock

Mitchell, who is a Melbourne fine arts graduate and current PhD industrial design student, is known for producing works that explore the modification (hacking) of mass-produced goods, also known as “modding.”

Day explains that Mitchell’s work is influenced by the DIY community of the 1970s. “His interest is often in modifying existing technologies … the sense of something that is not necessarily fixed and still able to be changed and modified. I think he applied that principle to the building,” she says.

While Mitchell’s work spans the entire gallery, installation artist Benjamin Forster has contained his artistic statement to the one room. In the work ‘Dysgraphia,’ the Perth artist brings together digital and biological technologies, installation and print, applying the logic of computer programming and algorithms to art-making, deconstructing LCD screens and USB sticks, and repurposing them as poetic devices.

Glass Tables II: Truancy Cycle Pt 1.  2013 soap, carbon, copper, salt, perfume, nickel, glass, dust, iPhone, flatbed scanner, digital loop with audio on suspended Samsung LCD monitor

Glass Tables II: Truancy Cycle Pt 1 by Joshua Petherick, 2013 soap, carbon, copper, salt, perfume, nickel, glass, dust, iPhone, flatbed scanner, digital loop with audio on suspended Samsung LCD monitor

Across the gallery, in a narrow hallway, Joshua Petherick’s three visual and abstract representations are scored to an ambient soundscape. Here Petherick utilizes technology hardware, pressing iPhone cameras to a flatbed scanners, to produce his ephemeral images — the result of the reproduction process.

Petherick’s art practice is concerned with mixing modern technologies and a variety of media to provoke discourse around consumption. ”The artist focuses on recording the ghosts in everyday imaging technologies, pushing the idea of image reproduction to a new unnatural conclusion,” Day explains.

In the past, artists in NEW have tended to work towards monumental statements. As a whole, the artists in this year’s exhibition were more interested in not approaching the space as a site of new grandiose work, but rather undermining this tradition, showing work that is purposely modest and propositional.

And if NEW is said to represent the times, then this year’s remarkable body of work reveals our continual fascination with technology and of how things work.

Photos: Derek Swalwell (main), artworks courtesy of ACCA and NEW13 artists.

Category Sauvage Vernissage

Ellsworth Kelly exhibit inaugurates Barnes’ nod to contemporary art

The Barnes Foundation in Philadelphia is about to open its first exhibition of contemporary art since the foundation was created in 1923. The abstract, minimalist artist Ellsworth Kelly will break the 90-year mold.

 

 

When the Barnes Foundation opened its new building on the Parkway, it reserved a large, rectangular room off the lobby for temporary exhibitions. Until now, it has been devoted to an exhibit about Albert Barnes, the creator and mastermind of the singular collection.

Kelly, who turns 90 this month, created the zigzag steel monolith planted just outside the entrance to the building. Inside are wall sculptures, including works made just last year.

The dominant piece is the 65-foot “Sculpture for a Large Wall,” with 104 multicolored aluminum panels suspended between five pairs of parallel bars.

Installed in 1957 inside the lobby of the old Penn Center Transportation Building at 18th and JFK, it was Ellsworth’s first sculpture, and his first commission. The artist has just come back to the States from a six-year sojourn in Paris, where he worked on large-scale collages that wrestled content out of his work.

Allowing color and shape free rein

“I wanted it to be empty, in some sense,” said Ellsworth, seated in the Barnes gallery in front of the massive sculpture he made 56 years ago. “Empty of connection. It’s no Marilyn Monroe. It’s not a landscape. Not a seascape. It’s not a Picasso woman. It activates the color to you.”

Ellsworth wanted to free pure color from inside the picture frame, and have it jump off the wall. The cut aluminum panels are angled, creating myriad optical illusions of lines and curves. He had taken cues from John Cage to build randomness into the sculpture, inventing a system of grids and throws that took some design elements out of his control. He was inspired, in part, by the way sunlight shimmers on the surface of the Seine River in Paris.

“Sculpture for a Large Wall” was removed from the transportation building in 1998 when it underwent renovations. It was snapped up by the Museum of Modern Art in New York.

‘A manifesto for the Barnes’

Its return to town (temporarily) gives Philadelphians a chance to see what they lost. The president of the Barnes Foundation, Derek Gillman, says Albert Barnes’ ideas about putting paintings next to each other that reinforce their compositional features is reflected in Kelly’s massive works of simple shapes and bold colors.

“It feels right” said Gillman. “Now, we’re standing in a space with a ‘Sculpture for a Large Wall,’ which is full of shape and form and color and line and — it feels almost like a manifesto for the Barnes.”

Ellsworth made an earlier, more direct attempt to paint sunlight shimmering on river. “Seine” (1951) is a grid of black and white squares that presaged pixelation. It’s on display at the Philadelphia Museum of Art, a few blocks down the Parkway from the Barnes, where another small Kelly retrospective is hung.

The Barnes Foundation and the Philadelphia Museum iof Art are joining almost a dozen othe rmuseum around the world in celebrating Kelly’s 90th birthday this month. They include the Tate Modern in London, the Museum of Modern Art in New York and the Art Institute of Chicago.

Category Sauvage Vernissage

Interviews With Artists

Collector QA: Jessica Gersh

Jessica Gersh, co-chair of the Whitney Art Party auction on May 1st, also co-chairs the Whitney Museum Contemporaries patron executive committee and is an educator through the Knowledge is Power Program.


Art, Yo…

 Alex Israel mural on the Bowery


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Category Sauvage Vernissage

Survey exhibition of American artist Ellen Gallagher’s work opens at Tate Modern

LONDON.- Ellen Gallagher is one of the most acclaimed contemporary artists to have emerged from North America since the mid-1990s. She brings together imagery from myth, nature, art and social history to create complex works in a wide variety of media, including painting, drawing, relief, collage, print, sculpture, film and animation. From 1 May to 1 September 2013 Tate Modern presents the UK’s first major solo exhibition of her work, providing a unique opportunity to explore her twenty-year career.

Gallagher came to international prominence by subversively combining a minimalist aesthetic of intricate repetition with an iconography drawn in part from caricatured lips and eyes of black vaudeville minstrels. She continued to explore this tension between abstraction and figuration, transforming imagery from an eclectic range of literature, music, science fiction, advertising and natural history. Through a painstaking process of obscuring and layering these images, only traces of them are left visible through a veil of inky smudges, punctures, stains and abrasions to suggest a strange and unsettling imaginary world.

This survey exhibition takes an overview of Gallagher’s practice, exploring the themes which have emerged and recurred from her seminal early canvases, to her ‘wigmap’ grid collages, through to recent film installations and new bodies of work. The exhibition will include such key works as Bird in Hand 2006, a complex relief built up in layers of printed matter, plasticine, crystal, paint and gold leaf. In Bird in Hand, human life and marine life converge at the bottom of the ocean in a mythical black Atlantis.

Gallagher’s mysterious vision of marine life extends beyond the canvas and into other media, such as the 16mm film installation Murmur 2003-4, created in collaboration with Edgar Cleijne, as well as the ongoing series of delicate watercolours and cut paper works entitled Watery Ecstatic. The large-scale sculptural installation Jungle Gym/Preserve 2001 will also be on display, which appears to be an abstract matrix of white poles, but on closer inspection becomes an intricate network of symbols referencing the traditions of whale-bone carving. New and recent work on display for the first time at Tate Modern, including Morphia, a series of two-sided drawings, will also show how Gallagher combines the intimate with the epic, the urban with the oceanic, the ethereal with the physical and history with the present.

Ellen Gallagher was born in Providence, Rhode Island in 1965 and now lives and works in Rotterdam and New York. Solo exhibitions of her work have included those held at the Whitney Museum of American Art, New York andNew Museum,New York. She was awarded the Joan Mitchell Fellowship in 1997 and an American Academy Award in Art in 2000 and her work is held in many major public collections, including MoMA, New York; Metropolitan Museum of Art, New York; Museum of Fine Arts,Boston; and Centre Pompidou, Paris.

Ellen Gallagher: AxME is curated by Juliet Bingham, Curator of International Art, Tate Modern, with Loren Hansi Momodu, Assistant Curator, Tate Modern. The exhibition will be accompanied by a fully illustrated catalogue by Tate Publishing designed by Irma Boom and will tour to the Sara Hildén Art Museum, Tampere, Finland in autumn 2013 and Haus der Kunst, Munich, Germany in spring 2014.

Category Sauvage Vernissage

New York’s MoMA moves to seven-day week – The Straits Times

NEW YORK (AFP) – New York’s Museum of Modern Art plans to move to a seven-days-a-week schedule starting Wednesday, after a similar announcement by the Metropolitan Museum of Art.

The MoMA said it was ending its traditional Tuesday closings due to strong public demand.

The expanded hours take the museum – which houses collections of Picasso and other modern masters – back to the schedule kept between its 1929 founding and 1975, when cost-cutting measures were introduced.

Since renovations at MoMA in 2004, annual visitor numbers have grown from 1.5 to three million.

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Category Sauvage Vernissage